SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA07569
ISBN 9790006523375. 32.9 x 23.9 cm inches. Text Language: French/German. Preface: Soury, Thomas. Louis de Cahusac.
Rameau's “Les Fêtes de l'Hymen et de l'Amour†was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïsâ€, “Zoroastre†and “Les Boradesâ€. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from “Arurisâ€, a scoring found nowhere else in his uvre.For the first time, this scholarly-critical edition of “Les Fêtes de l'Hymen et de l'Amour†presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Acadmie Royale de Musique in 1748.
SKU: HL.51489070
UPC: 840126989410. 6.75x9.5x0.259 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic, surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally, Haydn here dispenses with the clarinets that are otherwise generally featured in his late symphonies. The instrumentation of the Adagio is also unusual, in that Haydn includes trumpets and timpani, both muted. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: BA.BA10986
ISBN 9790006569106. 31 x 24.3 cm inches. Key: B-flat major. Preface: Andreas Friesenhagen.
Haydn composed his Symphony No. 77 along with his Symphonies Nos. 76 and 78 for a planned journey to England that never took place. Nonetheless, H.C. Robbins Landon calls these works the “English symphonies†as they are stylistically closely linked to the “London Bachâ€, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ‘Leicht und nicht vil Concertirendâ€, meaning that they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€. The Bärenreiter catalogue now includes the complete performance material for several “Sturm und Drang†symphonies as well as all the London and Paris symphonies.
SKU: HL.51489062
UPC: 840126951950. 6.75x9.5x0.263 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. To this day, the G-major symphony, first performed in March 1792, numbers among Haydn's most popular works. It owes its English nickname “Surprise†to the striking tutti chords in the Andante, which apparently caught the audience off guard. Haydn had consciously incorporated this effect at a later stage - and was thus subsequently also perfectly willing to authorize this nickname that had been dreamt up by a London musician. This popular work also spread rapidly through German-speaking countries, where it is still firmly established in the repertoire as the “symphony with the drumbeat.†This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: BA.BA08893
ISBN 9790006567560. 33 x 24.3 cm inches. Text: Duplat de Monticourt, Pierre-Jacques.
This edition unites all the purely instrumental parts of Rameau’s comdie-ballet “Les Paladins†for performance as a suite in the concert hall.In view of the wealth of the work’s musical treasures and the stylistic innovations – similar to the “Borades†– the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this stage work not being performed again until well into the 20th century. The story that the comdie-ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et des pierreries†(i.e. “The little dog who shakes silver and stonesâ€). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones; and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opra.This critical edition is based on the corresponding volume issued in the series “Opera omnia Rameau†(BA 8870-01). Since “Les Paladins†remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètesâ€, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians.The orchestral parts are available on hire.
SKU: HL.51487451
UPC: 196288158110. 6.75x9.5x0.294 inches.
Thanks to its skilful combination of Romantic melody and sparkling virtuosity, Koussevitzky’s Double Bass Concerto op. 3 has been one of the most popular works of its genre since its Moscow premiere in 1905. No wonder, for the virtuoso double bass player Koussevitzky had composed it for his very own instrument. As early as 1906/07 a first piano reduction was published in Moscow, followed by a second in 1910 in Leipzig. However, both contain so many mistakes in the solo part that there is still uncertainty about the correct musical text in many passages to this day. The double bass player Tobias Glöckler has therefore prepared his Urtext edition using several sources: as well as the manuscript performance material and the piano reductions published during the composer's lifetime, he has also studied recordings with Koussevitzky as soloist - thereby finally producing a thoroughly-researchedUrtext edition of the orchestral score and piano reduction of this classic of the double bass literature. As with all double bass concertos published by Henle Publishers, this edition also contains the piano reduction by Christoph Sobanski in two keys (E minor and F sharp minor) for performance with solo or orchestral tuning.
SKU: BA.BA10983
ISBN 9790006565573. 31 x 24.3 cm inches. Key: G major. Preface: Armin Raab.
Haydn’s Symphony in G major Hob. I:81 comes from a series of three symphonies completed in late 1784 (nos. 81, 80 and 79, presumably in that order). No autograph score survives for Hob. I:81, thus our Urtext edition is based on copyists’ manuscripts and first editions. As with so many of his symphonies, Haydn wrote this one to provide new music for his employer, Prince Nikolaus Esterházy.Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. Bärenreiter has now published the complete performance material for several Sturm und Drang symphonies and all the London and Paris symphonies (Nos. 81 to 104).
SKU: HL.51489817
UPC: 840126932782. 6.75x9.5x0.341 inches.
The premiere of this work in December 1813 ranks among the greatest successes Beethoven ever celebrated in public as a composer. One reviewer wrote at the time that in its themes the new symphony was “so favourable and easily comprehensible that every music lover falls for the powerful allure of its beauty.†The incisiveness of the themes is fundamentally related to the basic ostinato rhythms, which help shape each movement’s distinctive character. Richard Wagner even called the composition, with its ecstatic finale, an “apotheosis of the dance.†Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now, in this study edition, it is available to everyone at a reasonable price and in a handy format.
SKU: BA.BA08811
ISBN 9790006539840. 33.1 x 26.5 cm inches. Text Language: Italian. Preface: Betzwieser, Thomas. Text: Giambattista Casti.
A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart’s “Schauspieldirektor†whilst Antonio Salieri’s “Prima la musica e poi le parole†was performed by the Italian court singers and musicians. This charming opera satire belongs to the genre of “metamelodramma†in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the librettist, composer and prima donna, appear as characters on the stage and are presented in a humorous self-reflection. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s “Giulio Sabino†in his insert arias, thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether ‘the word’ or ‘the music’ should take priority, this masterpiece is considered to be an early forerunner to Richard Strauss’s “Capriccioâ€.The new edition of the score is published as part of “opera – Spectrum of European Music Theatre in Separate Editionsâ€. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into this newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti’s “Giulio Sabino†have also been incorporated.• Urtext vocal score based on the historical-critical hybrid score published as part of “opera – Spectrum of European Music Theatre in Separate Editions†edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).• Original Italian libretto with singable German translation• Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodramma and intertextuality etc.• Includes an extensive appendix to the quotations taken from Giuseppe Sarti’s “Giulio Sabinoâ€â€¢ Idiomatic piano reduction
SKU: BA.BA07568
ISBN 9790006558285. 33 x 24 cm inches. Preface: Sylvie Bouissou. Text: Louis Fuzelier.
The new scholarly-critical edition of the score of Rameau’s “ballet hroïque†Les Indes galantes finally clears up its convoluted source history. At the first performance, on 23 August 1735, it consisted of a prologue and three acts: Le Turc gnreux, Les Incas du Prou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 September of that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the “ballet hroïque†was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Prou and Les Sauvages (1751–73).With regard to the instrumental movements (dances and descriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou which are currently in preparation. It includes not only the orchestral pieces in the version deemed valid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection of all the orchestral numbers from one of Rameau’s central stage works for use also in concert performance.
SKU: BA.BA05540
ISBN 9790006497126. 33 x 26 cm inches. Text: Franz von Schober.
In late September or early October 1821 Schubert and his close friend, Franz von Schober, vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle, which belonged to the Bishop of St. Pölten (a close relative of Schober’s), after which they moved on to St. Pölten itself. Roughly a year earlier, two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann, who blamed the press for the indifferent reception the two works were given by the audience. Schubert and Schober now decided, it would seem, to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.Not until 24 June 1854 was the opera finally performed in Weimar, under the baton of Franz Liszt. It only achieved success, however, in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881–2, allegedly with brilliant acclaim.
SKU: BA.BA06848
ISBN 9790006483303. 34.4 x 27 cm inches. Text: Svatopluk Cech.
Over the years Janácek’s uvre has increasingly received the recognition it so richly merits and performances of his works are becoming more and more frequent. This development is, however, offset by a manuscript tradition so disorderly that some of Janácek’s works continue, as before, to be played in versions which are heavily adapted, corrupt or otherwise contrary to the composer’s intentions. Thus, a critical edition of Janácek’s music is indispensable for scholars and performers alike.This editon presents an authentic printed text based on all available sources for each work. In addition to the musical text, each volume also contains a critical report (Czech / German), a rendition of deleted or rejected versions, and a comprehensive appendix of facsimiles.
SKU: BA.BA10980
ISBN 9790006562831. 31 x 24.3 cm inches. Key: G major. Text Language: German, English. Preface: Andreas Friesenhagen.
This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “soloâ€, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo†marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly.Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scale choral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydnâ€. The complete performance material for several “Sturm und Drang†symphonies and all of the London and Paris symphonies is now available from Bärenreiter.
SKU: HL.51489818
UPC: 840126932744. 6.75x9.5x0.25 inches.
Sandwiched between the popular Symphonies Nos. 7 and 9, the relatively short Eighth Symphony finds itself in a difficult position even now. Right after the premiere in February 1814, one critic opined that it had made “no splash.†At first glance it makes recourse to already outmoded forms and genres, even reviving a minuet for the third movement (in lieu of a slow movement) after an Allegretto scherzoso. But Beethoven engages intensively with music history, breaking apart traditional procedures and patterns and finding new, surprising solutions that make his Eighth a milestone in symphonic history. Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now,in this study edition, it is available to everyone at a reasonable price and in a handy format.
SKU: BA.BA10981
ISBN 9790006564620. 31 x 24.3 cm inches. Key: C major. Preface: Andreas Friesenhagen.
Haydn’s Symphony in C major Hob. I: 90, dated 1788 in the autograph, belongs to a group of works that he composed between the Paris symphonies (Hob. I: 82–87) and the London symphonies (Hob. I: 93–104). It thus belongs to the last symphonies he wrote before his journeys to England in 1791–92 and 1794–95. Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. With Symphony No. 90, Bärenreiter has now published the complete performance material for all the symphonies from Nos. 82 to 104 as well as several Sturm und Drang symphonies.
SKU: BA.BA10984
ISBN 9790006567294. 31 x 24.3 cm inches. Key: F major. Preface: Armin Raab.
Along with Symphonies Nos. 80 and 81, Haydn’s Symphony in F major Hob. I:79 belongs to a group of works that he composed in late 1784. He wrote them for his employer Prince Nikolaus Esterházy who wished to be entertained with new music. The symphonies were tailored for the twenty-five to thirty musicians who were in the prince’s court orchestra.Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€. Bärenreiter has already published the complete performance material for several “Sturm und Drang†symphonies and all the Paris and London symphonies.
SKU: BA.BA10985
ISBN 9790006568123. 31 x 24.3 cm inches. Key: C minor. Preface: Andreas Friesenhagen.
Along with Symphonies Nos. 76 and 77 Haydn composed Symphony No. 78 for a journey to England that never took place. Nonetheless, H. C. Robbins Landon referred to these works as the “English Symphonies†as they are stylistically closely linked to “the London Bachâ€, Johann Christian Bach. In a letter Haydn wrote to his Paris publisher Charles-Georges Boyer in 1783, he described the works as “Leicht und nicht vil Concertirendâ€, meaning they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas, and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€. To date, Bärenreiter has published the complete performance material for several of Haydn’s “Sturm und Drang†symphonies as well as the complete London and Paris symphonies.
SKU: BA.BA08833
ISBN 9790006566594. 31 x 24.3 cm inches. Preface: Luhning, Helga.
Of the four overtures that Beethoven composed for his only opera, the “Leonore Overture†No. 3 is the most popular. The first reviewer found fault with it for its “incessant dissonances and overblown fluttering of the violins†(Wiener Theater-Zeitung, 1806), but it soon became famous as “one of the most imposing, difficult, yet richest and strangest of compositions†(Allgemeine Musikalische Zeitung, 1810). This version of the “Leonore Overture†quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.The editor has devoted herself to the complex genesis of the various “Leonore Overture†versions, in particular the question whether the trumpet call in measures 272–277 and 294–299 should be played by one or two instruments. The edition is based on the Complete Edition of the “Works of Ludwig van Beethoven†issued by the G. Henle publishing company.
SKU: HL.51489064
UPC: 840126937640. 6.75x9.5x0.214 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracleâ€, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: BA.BA10982
ISBN 9790006565504. 31 x 24.3 cm inches. Key: D minor. Preface: Armin Raab.
Along with Symphonies Nos. 79 and 81, Haydn’s D-minor Symphony Hob. I:80 belongs to a set of symphonies that he completed in late 1784. He wrote them for his employer Prince Nikolaus Esterházy, his task being to entertain the prince with new music. The symphonies had to be suitable for the twenty-five to thirty musicians who were in the prince’s orchestra. Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€.Bärenreiter has already published the complete performance material for several “Sturm und Drang†symphonies and all the London and Paris symphonies.
SKU: BA.BA08891
ISBN 9790006564149. 33 x 24 cm inches. Preface: Sylvie Bouissou.
Christoph Willibald Gluck's opera in four acts about the Curse of the House of Atreus is based on a tragedy by the classical Greek dramatist Euripides. The mythological plot about the siblings Iphigenia and Orestes is characterized by hatred, ritual sacrifice, and murder and was especially popular during the 18th century. The premiere of Gluck's opera in 1779 was immensely successful.Barenreiter now presents a carefully edited and corrected piano reduction that was newly set to meet Barenreiter's current quality standards. An informative preface (Ger/En/Fr) supplements the edition, which also includes all appendices of the score volume the edition is based on, as contained in the Gluck Complete Edition (GGA).
SKU: LO.765762191600
UPC: 765762191600.
The fresh and creative Allegis Orchestral Series is designed to give small to mid-sized churches an instrumental resource that fits the needs of any size group, from eight players (minimum) to a full orchestra. These moderately difficult hymn arrangements have been created in popular styles that your instrumentalists and congregation alike with love. Three accompaniment options (piano, live rhythm section, or recorded rhythm tracks).Everything you need for practice and performance is included on the Enhanced CD: printable instrumental parts, (incl. opt parts), plus the rhythm accompaniment track and demonstration track. Minimum Instrumentation: Part 1 – Fl; Part 2 – Ob (Cl, S Sax); Part 3 – Cl (A Sax); Part 4 – Tpt; Part 5 – Tpt (A Sax); Part 6 – Hn (A Sax, Cl); Part 7 – Tbn (Bari TC, T Sax); Part 8 – Tbn (Bari TC, Bari Sax).
SKU: BA.BA08899
ISBN 9790006523351. 33 x 24 cm inches. Preface: Denis Herlin. Text: Charles-Antoine Leclerc de La Bruere.
“Dardanus†is Rameau’s third “Tragdie lyrique†composed for Paris after “Hippolyte et Aricie†and “Castor et Polluxâ€. With its multi-facetted music it represents quite a high point of this genre. Its performance history is remarkable in that within only five years two clearly different versions were being performed.The new critical edition by Denis Herlin for the first time offers the possibility to reconstruct the version of May 1744 in addition to the version of 1739. Also, the Appendices include the complete performance material of the version of April 1744, many parts of which could not be heard since. Last but not least the changes of the successful re-staging of 1760 are presented.This performing edition contains all the purely instrumental numbers of the opera in their various versions. Apart from the preludes and ritornellos, these are above all the diverse dance numbers.
SKU: HL.51489819
UPC: 840126932737. 6.75x9.5x0.712 inches.
After the first sketches had been put to paper in 1815, Beethoven only finally put the finishing touches to his last completed symphony in 1824. With its extended finale in which soloists and choir perform, building the bridge to the symphonic cantata with their invocation of fraternity, it marks a caesura in the history of the symphony that echoed long into the nineteenth century. The main theme of the ode “To Joy†by Friedrich Schiller, set to music in the final movement, has become one of the most popular melodies in all of classical music and today serves as the official anthem of Europe. Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now,in this study edition, it is available to everyone at a reasonable price and in a handy format.
SKU: BA.BA10418
ISBN 9790006564644. 32.5 x 25.5 cm inches. Key: G major. Preface: Jonathan Del Mar.
The performance material available up till now for Dvorákâ??s sun-filled cheerful Symphony no. 8 has been notorious for its myriad mistakes. The challenge of correcting it has now been taken over by the editor Jonathan Del Mar. He has taken into account the engraverâ??s copy, which was actually discovered in a trash bin at Novelloâ??s in 1964. Its title page bears the words â??Copied from my original manuscriptâ? in Dvorákâ??s hand. This source proves that many of the readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyistâ??s pen.This new edition with score and orchestral parts in an enlarged format is accompanied by a detailed Critical Commentary on the sources and alternative readings. It also contains important facsimile pages to clarify problematical readings.
SKU: HL.51487380
UPC: 840126932881. 6.75x9.5x0.251 inches.
Bach's harpsichord concerti, extremely popular among pianists, are presumably reworkings of pieces originally written for the violin. Bach, however, succeeded in transferring the diverse idiosyncrasies of violin technique to the keyboard with such ingenuity that most of today's pianists also include these concerti in their standard repertoire. The first concerto in D minor is perhaps the most popular - not least because of its jaunty outer movements and the eminently forceful solo part. Now, as a prelude to a series of all of Bach's harpsichord concerti, G. Henle Publishers presents a piano reduction and study edition (score) of the D-minor concerto. None other than András Schiff, the outstanding Bach expert, has provided fingering suggestions.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
